so, an immediate parallel drawn between the epigraph's "we are a race of lovers" (I.9 at 254) and the general content of the chapter. not sure if it's flattering or not, unless the parallel is not drawn with the narrator, but with guys like psammatus, a priest who is also a regular consumer of the erotic services offered in the vatican's brothels (I.9 at 255).

fuligin ejaculate FTW. (I.9 at 259).

we see further superimposition of the "ancient" on the "recent" in DA's tour of sudica: "sheep and half-buried stone" is placed atop "one of the great provinces" (I.9 at 261). despite DA's opening structuration, he "seemed to seach out places like these, places that slumbered, that dreamed of ancient times." (I.9 at 262). becoming "chroniclers of the Three Seas" was a means for each mandati to "be one man instead of two" (id.).

"sorcerers were not accustomed to women" (I.9 at 264). haha nerds.

an oddity of anagnorisis: "He remembered flinching when she climaxed and thinking: That cry is mine! Mine! But he owned nothing of her" (I.9 at 264-65). this is a difficult realization even for settings (such as, yaknow, actual earthling history) wherein ownership of persons is de jure abolished. for DA to understand, in a setting filled with horrible bondage and sexual properties, that he has not title to her is quite an accomplishment. and yet, as is the case for most liberated persons, the ideology of affect claims the property even though the intellect accepts the truth of emancipation. nicely done: DA is both barbarian with juvenile emotional claims and sophisticated man of letters with mature politics of personhood.

chapter thereafter dominated by his graph (I.9 at 267-70). anyone tried to translate the in-setting writings at the end yet? (I at 594).

distinction drawn between mere harlots and temple-prostitutes (I.9 at 271). anyone worked out the theological doctrine on that question yet?

we are told that men stand midway between women and gods (I.9 at 272). is there a plainer statement that women are ontologically/theologically disabled in the setting?

And the Nonman King cried words that sting:"Now to me you must confess,for death above you hovers!"And the Emissary answered ever wary:"We are a race of flesh,we are a race of lovers."- "Ballad of the Inchoroi," Ancient Kuniuri Folk Song

Early Winter, 4111 Year-of-the-Tusk, Sumna[/b]

§9.1 - The Consult Creeps

Esmenet reflects on Achamian's departure, Inrau's death, and how she loves the dimensions of Achamian's life, not neccessarily Achamian. And most importantly, the construction and maintenance of narrative thread: Esmenet's daughter and how Esmenet's thoughts always return to her (p276).

Then the oft debated stranger enters.

I find it very interesting that Achamian warned Esmenet like he did. Surely, he didn't take such precautions with all of his informants - he warns her as an outsider of the Game, not a player, not yet a student, an innocent he's involved.

But, most importantly, he warns her with seemingly no belief that what he says will come to pass. Achamian barely believes in the Mandate's Mandate anymore, he's very much going through the motions.

Yet everything he says comes to pass. And that knowledge seems to save her life, as I'm sure disposing of a random whore who's never left Sumna before would be only too easy for the Consult. They have little trouble with Geshrunni, Captain of the Javreh...

§9.2 - Little Sumna, Big Three Seas

Our girl decides to leave Sumna. Honestly, huge decision for someone in that kind of society, especially a whore from a city that marks theirs.

Again, the reflections on Achamian's choice to warn her and her daughter...

Reading over the quoted insistence by Achamian makes me wonder again what Inrau found in Maithanet's offices?

And Esmenet strikes out... for Achamian?

§9.3 - Achamian, Narrator, Maker of Maps of the Plot

I think this is a passage many of Bakker's core fans enjoy. The reflections on the history and worldbuilding are pleasing . lockesnow commented on the timing of the new Dream, which is interesting, and also, I think the forth Dream from TDTCB but I'd have to recheck the count - The Day of the Mog's Inception (p283).

Achamian reflects on investigating within the Thousand Temples after Inrau's death. Suicide, though, we, the reader, and Esmenet, know otherwise.

Achamian reflects on his need for Esmenet, some thoughts on love, on the feelings of possession that this engenders - sologdin hit upon that nicely as well, in terms within possible historical context. That immersion into someone else is something that seems to define an aspect of "love" for me, an interesting demarcation (p285).

"Esmenet, the Whore of Sumna" (p287) quote and subsequent paragraph seems huge as lockesnow explored. This chapter seems to set Esmenet up into a player that she's not...

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and not grown into, even twenty years later. Again, something is going on with the women in Esmenet's family... especially in light of mythological associations within Earwa.

Then we get Achamian's great Map O' Plots : highlighting all the "relevant" mysteries.

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Note the dramatic downplay of the Cishaurim (p288) and the constant recontextualizing in light of the Mystery of Maithanet.

During the process, Achamian realizes, as per direction by the Mandate to the Holy War, that somehow reigniting his relationship with Proyas is the only way to gain information about Maithanet.

§9.4 - Prison Sumna, Prison World

I find it interesting that as Esmenet leaves the Gate of Pelts, she imagines the World as a prison because leaving Sumna is nothing (p292). Why a prison, I wonder? Does it reflect her feeling trapped by her circumstances in life?

Again, the invocation of "Esmenet, the Whore of Sumna" with the recollection that her imitation Gierra tat will always mark her as a whore of Sumna. And immediately after she asks the Goddess' counsel (p293).

"She was not a wife." (p293) - surprised you didn't note that one too, solo. Noting a woman's apparent worthless in the eyes of society, and apparently, as sologdin highlighted, the metaphysical realm.

But she seeks Achamian - to return his favour of warning and to invalidate the doubts that so plague his heart...

I really hope that there aren't any continuation errors involved here when it comes to the 'client'. The thing definitely sounds like it's Inchoroi: He used magic, had a 'dragon roar' (the thing at the end of TWP had a dragon gasp) and of crouse, his seed was black.

Some suggested that he used a glamour. But have we seen any instance of glamour use anywhere in the series? Plus he's eight+ feet tall and has a bigger than average phallus--to put it mildly... Esmenet should've noticed something.

With the sound of flapping wings at the window, I would have to guess it was either some kind of illusionary magery or bonafide shapeshifting. The former is mentioned once, the latter not at all.

False Sun spoilers, TTT glossary spoilers maybe:

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The only time it is brought up officially, that I can recall, is when the nonmen Quya (the Architect?) put a glamour over the entire area of Golgotterath to make in imperceptible to those that passed by.

With the sound of flapping wings at the window, I would have to guess it was either some kind of illusionary magery or bonafide shapeshifting. The former is mentioned once, the latter not at all.

False Sun spoilers, TTT glossary spoilers maybe:

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The only time it is brought up officially, that I can recall, is when the nonmen Quya (the Architect?) put a glamour over the entire area of Golgotterath to make in imperceptible to those that passed by.

False Sun spoilers, TTT glossary spoilers maybe:

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That's right Wilshire, I can remember this one fairly clearly so don't need the text but I will check spellings when I get home: It's Emilidis the Artisan who is founder of the Mihtrulic school of sorcery that erected the glamour's. I think the glamours don't necessarily hide something from view as obscure it in angles (at least in this case). So the way I took it was you would start walking *towards* what you think could be Golgotterath only to realise you never walked towards it at all. Makes sense with the mathematical nature of the barricades.

Just my thoughts

Another interesting thing would be:

Spoiler for AE:

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Does the Yatwerian facemask (Sorweel) actually work. If it does this is a clear example of a glamour - albeit a thematurgically (God power magic shizzle) generated one.

With the sound of flapping wings at the window, I would have to guess it was either some kind of illusionary magery or bonafide shapeshifting. The former is mentioned once, the latter not at all.

False Sun spoilers, TTT glossary spoilers maybe:

(click to show/hide)

The only time it is brought up officially, that I can recall, is when the nonmen Quya (the Architect?) put a glamour over the entire area of Golgotterath to make in imperceptible to those that passed by.

Its never something you touch, only something you think you touch. The reasoning behind a glamour (at least in my interpretation) is that they essentially hack your soul and insert thoughts into it. Similar to how a Cant of Compulsion are your own thoughts - you really believe whatever is inserted. I always imagined the Inchoroi was screwing Esmi through its Synthese body and using its glamorous cants to disguise its true form. I would expect Synthese to have black semen as Sranc/SkinSpies/Inchoroi all do so it seems a common theme.

The compulsed Esmi scene sheds some light on the mechanics IMO. If you re-read that section you can see a definite soul connection between Aurang and Kellhus.

Memory and thought are a fickle thing - especially in Earwa where thoughts originate from the soul.

Hope this clarifies my reasoning - interested in your interpretation.

EDIT: The other alternative is that the man was a skin spy who was possessed similar to how Esmi was herself possessed. We already know some skin spies have souls.

Ah, the flutter of wings could have been the one from the end of TWP. Was he humanoid with wings? That would make it a bit more believable. Then the glamor, or some such, was just making him look pretty, and it was a giant birdman rather than a pigeon with the head of a man.

Yeah I'm thinking now that Esmenet was raped by the bird-Synthese. And honestly, given certain real life avians, a giant (relative to the body that possesses it) extrudable penis isn't actually that weird or implausible. And is exactly the kind of thing an Inchoroi would make sure its vessel had.

So the human figure was a glamour. Yes, the glamour around Golgotterath had additional properties, but that was a glamour to end all glamours, and shouldn't be taken as typical, I think.

I find it interesting that as Esmenet leaves the Gate of Pelts, she imagines the World as a prison because leaving Sumna is nothing (p292). Why a prison, I wonder? Does it reflect her feeling trapped by her circumstances in life?

She identified Sumna with her imprisonment (though it's more a metaphorical prison describing the role she's forced to play in her life). But when she left Sumna, she felt nothing. No sense of escape or danger or accomplishment. She still feels a prisoner. So she moves the frame of her prison to encompass the entire world.